SCIENCE VS SINOPHOBIA:

Lab Leak Mania: Why did the New York Times publish an op-ed supporting the lab leak theory? (PAUL OFFIT, JUN 24, 2024, Beyond the Noise)

In a one-hour video, the TWiV team addressed each of the “Five Key Points” proffered by Chan. The group consisted of Vincent Racaniello (virologist), Alan Dove (microbiologist), Rich Condit (viral geneticist), Brianne Barker (immunologist), and Jolene Ramsey (microbiologist). The video was released on June 10, 2024, one week after Chan’s publication in the New York Times. This wasn’t the first time that the TWiV team had discussed the origin of SARS-CoV-2; it was the ninth. Previous guests have included evolutionary biologists who had directly investigated the events in Wuhan; specifically, Michael Worobey, Kristian Anderson, Eddie Holmes, Marion Koopmans, and Robert Garry, who had collectively published a paper in the journal Science in 2022 titled, “The Huanan Seafood Wholesale Market in Wuhan Was the Early Epicenter of the COVID-19 Pandemic.” This paper showed that all the early cases of SARS-CoV-2 clustered around the southwestern section of a wet market in Wuhan where animals susceptible to coronavirus were illegally sold and inadequately housed. Worobey and his team had shown that 1) the early cases had direct or indirect contact with the market and 2) none of the early cases occurred around the Wuhan Institute of Virology. This single paper was devastating to Chan’s hypothesis.

THOSE DISAPPOINTED BY gOD:

The God-Haunted World of ‘Chinatown’: A look back at the neo-noir classic on its 50th anniversary. (Hannah Long, June 22, 2024, The Dispatch)

Whereas the god of Genesis pronounces creation good in its inception, reflecting himself, Chinatown reverses this. Every authority is fundamentally compromised or selfish. Women are liars; men are boors; fathers abuse their daughters; the police lack honor; there is no appeal to heaven. Even the act of life-giving is poisoned by power.

The makers of Chinatown were not unique in their cynicism. In the 1960s and ‘70s, screenwriters were bent on subverting the studio system rules and tropes established by the last generation. But like every rebellious teen, those anti-mythmakers fit into their own tradition. There are as many films portraying the seedy underbelly of Hollywood as there are lauding its glittering promise. From Norman Maine in A Star is Born walking into the ocean to Norma Desmond madly gyrating into the camera in Sunset Boulevard, disillusion and impotence are deep parts of the California myth. While Chinatown distills the trope with such clarity and feeling that it has become the platonic anti-ideal, it doesn’t create a new thing.

In fact, chucking the Christian myth actually means restoring a far more conservative vision, the “restoration of order”—but an ancient order. In Chinatown, time is cyclical, choice is an illusion, gods are ruled by their appetites, and the world will go on thus forever. It’s not the world of Yahweh, but the world of Zeus.

And yet, despair is the tribute that unbelief pays to faith. Chinatown wouldn’t be half as sad, or remotely as great—and it is very great—were it not a film that expected a good city and a righteous builder.